Tag: Philip Lupton

You Gotta Hear This: New Music From Valerie June, Bryan Sutton, and More

Posted on by Justin Hiltner

Hear ye, hear ye! A fresh collection of new music, premieres, videos, singles, and more is here. You Gotta Hear This…

To start off, Good Country purveyors, Texan duo Briscoe, offer a brand new music video for “Free.” It’s a track from their new album inspired by lessons learned by Truett Heintzelman from his grandfather, as well as an ode to the Texas roots he shares with his grandad – and with his bandmate, Philip Lupton, too. Also bringing a newly minted video, singer-songwriter Rachael Sage and her band the Sequins celebrate love, friendships, and togetherness on “Belong To You.” The adorable music video was created by hosting an open casting call inviting participants to arrive and join in the taping with whomever they “love the most.” Sidle up to your loved ones and click play.

Bluegrass guitar great Bryan Sutton sits down with mandolinist Sierra Hull for a new rendition of an instrumental classic, “Grandfather’s Clock,” this week, too. But, this time, Hull is playing a six-string instead. Did you know she’s an equally accomplished guitar picker? Meanwhile, Sutton quite fittingly performs the tune on a guitar once owned by his own grandpa. Elsewhere, you’ll find South Carolina-based gospel bluegrass band Eighteen Mile sharing a new single below. “What Mercy Means” is an excellent example of how the long relationship between gospel and sacred music and bluegrass and old-time continues today.

Keep scrolling, though, because we have two more videos for you to enjoy. If you have young roots music fans around – or if you’re young at heart – the Okee Dokee Brothers have an adorable new animated music video for their track, “Little Old You.” Sure, the Brothers make children’s music, but this is listenable at all ages, that’s for sure. The message of the track is sweet and timely, as they put it: “…We’re [all] infinitely big in all our little ways.”

And, finally, the cosmic and (literally) magical Valerie June has a new single out this week and an accompanying visualizer you won’t want to miss. “Rollin’ and Tumblin'” is raucous, impassioned, and brash – just how we like June’s music – and demonstrates yet again how complex and inviting this indie-string-folk mastermind can be. Especially when she brings the blues and the banjo together in exciting ways like this.

There’s plenty to watch and hear, so let’s get to it! ‘Cause seriously, You Gotta Hear This.

Briscoe, “Free”

Artist: Briscoe
Hometown: Austin, Texas
Song: “Free”
Album: Heat of July
Release Date: September 19th, 2025 (album); November 14, 2025 (video)
Label: ATO Records

In Their Words: “I’ve learned a great deal of lessons from my grandfather and the life that he lived so well. He was chock full of wisdom and always keen to share that wisdom with me and my siblings. Perhaps the most important thing he taught me was the art of moderation and the joy in being content with what you have. ‘Free’ is an ode to him and the Texas roots we both share, as well as a reminder for people of all walks to savor a life lived right down the middle.” – Truett Heintzelman

Video Credit: Jackson Ingraham 

(Editor’s Note: Read our recent Good Country interview with Briscoe here.)

Valerie June, “Rollin’ and Tumblin'”

Artist: Valerie June
Hometown: Humboldt, Tennessee (now Memphis, Tennessee and New York, New York)
Song: “Rollin’ and Tumblin'”
Release Date: November 12, 2025 (single)
Label: Concord

In Their Words: “Working with producer and bassist Matt Marinelli and drummer Andy Macleod brings a wild, rambunctious twist to this old blues standard, “Rollin’ and Tumblin’.” I love taking the banjo out of its traditional comfort zone and driving it into a raw, heavy, metallic space – like someone tossing and turning through sleepless nights until they finally let go.

“Decades of digging into how the blues bleeds into every style have taught me one thing – those roots never die. Every time I twist that sound through my own work, I find new ways to grow and let those old ghosts roar again.” – Valerie June

Track Credits:
Valerie June – Vocals, banjo
Matt Marinelli – Basses, producer, engineer
Andy Macleod – Drums

Video Credits: Filmed at Magnolia Pearl in Fredericksburg, Texas by Brights and in Big Sur, California by Dr. Ietef Vita.

Eighteen Mile, “What Mercy Means”

Artist: Eighteen Mile
Hometown: Upstate South Carolina
Song: “What Mercy Means”
Release Date: November 14, 2025

In Their Words: “I’ve always been intrigued by the mental picture of Moses climbing up Mount Sinai to meet God in Exodus 34.The Bible paints a picture that the mountain was dark and terrifying and it even describes earthquakes and thunder, all because the holy presence of God was there. I wrote this song to capture the divine tension of a powerful holy God meeting an unholy man. The song then relates the Bible story to my personal story, that even though I deserve the punishment that comes from being a sinner before a holy God, he surprises me with overflowing mercy every morning instead.” – Carson Aaron

Track Credits:
Hallie Ritter – Upright bass
Carson Aaron – Acoustic guitar, lead vocal, songwriter
Emily Guy – Harmony vocal
Jack Ritter – Banjo, harmony vocal
Savannah Aaron – Fiddle
Andy Leftwich – Mandolin, mandola, acoustic guitar
Steve Pettit – Mandolin

The Okee Dokee Brothers, “Little Old You”

Artist: The Okee Dokee Brothers
Hometown: Denver, Colorado
Song: “Little Old You”
Album: Little Old You
Release Date: November 11, 2025 (video); November 7, 2025 (album)
Label: Okee Dokee Music

In Their Word: “This tune is a special one for us. It reminds us that we’re infinitely big in all our little ways. Even our tiniest feelings ripple like oceans, our dreams comfort the night, and our smiles can light the way for others.” – Justin Lansing

“It’s a gentle anthem to our place in the cosmos – showing that our smallest actions have big effects. We are silly and wise, young and old, and infinitely big in all our little ways.” – Joe Mailander

Track Credits:
Justin Lansing – Vocals, guitar
Joe Mailander – Vocals, guitar
Dean Jones – Organ

Video Credits: Directed by Jack Carr.
Art Directed by Zachariah Ohora.
Animated by Tom Jolliffe & David Jenkins.

Rachael Sage & The Sequins, “Belong to You”

Artist: Rachael Sage & The Sequins
Hometown: Hudson Valley, New York
Song: “Belong To You”
Album: Canopy
Release Date: November 14, 2025
Label: MPress Records

In Their Words: “‘Belong To You’ is the first song I’ve intentionally composed as a gospel ballad. It meant the world to me that many of The Sequins ended up singing on the arrangement, rather than me performing all the harmonies myself (as has often been the case). Kevin J. Killen’s soulful Hammond organ and guitar playing and Will Wilde’s incredible blues harmonica add so much; Dave Eggar’s cello performance keeps everything grounded so beautifully.We all genuinely feel so much love and devotion for one another, so the vibe that was captured via our friendships really mirrors the lyrics and adds so many beautiful layers of emotion.

“Because it’s one of the more universal songs on the record, it’s been really magical to perform it live, and have audience members at the gigs share their individual interpretations of it with us. Trina Hamlin, who also sings on the track, has been singing it with me live lately and it makes it very easy to sing about unconditional love and friendship when one of your best friends is harmonizing with you!” – Rachael Sage

Track Credits:
Rachael Sage – Lead vocals, background vocals, piano
Doug Yowell – Drums
Dave Eggar – Cello
Kerry Brooks – Upright bass
Will Wilde – Harmonica
Kevin J. Killen – Acoustic guitar, electric guitar, Hammond B3 organ, background vocals
Trina Hamlin – Background vocals
Mikhail Pivovarov – Background vocals

Video Credits: Jenny He – Director, producer
Shadow Play Pictures, LLC. – Production company
MPress Records – Executive producer

Bryan Sutton, “Grandfather’s Clock” (with Sierra Hull)

Artist: Bryan Sutton with Sierra Hull
Hometown: Nashville, Tennessee
Song: “Grandfather’s Clock”
Album: From Roots to Branches
Release Date: November 14, 2025 (single)
Label: Mountain Home Music Company

In Their Words: “I’m so happy to have Sierra Hull on this record. We chose the song, ‘Grandfather’s Clock,’ just because it’s a classic, beautiful melody. A lot of people know what a great mandolin player Sierra is, but I’ve always known what a great guitar player she is. This song meant a lot to us and, in fact, I’m playing my grandfather’s old Martin 0-17 guitar on this track.” – Bryan Sutton

“Bryan is one of my favorite musicians in the world to listen to and make music with. He knows how to elevate any musical situation he enters. Whether he is supporting a simple melody with pure tone and restraint or providing a wave of rhythmic brilliance and musical playfulness to ride along with, he always knows how to make things feel and sound easy. He’s one of my biggest heroes, so I’m both honored and thrilled to get to be a part of this new duets project with him!” – Sierra Hull

Track Credits:
Bryan Sutton – Acoustic guitar
Sierra Hull – Acoustic guitar

Photo Credit: Valerie June by Dr. Ietef Vita Photography; Bryan Sutton courtesy of the artist.

Briscoe Hit The Road and Wrote a Country Album

Posted on by Justin Hiltner

Through the windshield of their Ford Transit van, the duo Briscoe drew songwriting inspiration from the Southwestern landscape during a long, meandering road trip after graduating from the University of Texas. However, this trek was more than just a rite of passage, as band members Philip Lupton and Truett Heintzelman were launching their first national tour. In those seemingly endless miles between show dates, they would trade lyrical ideas to flesh out once they got back home to Austin.

Described by the band as “Texas folk-rock,” those cinematic songs have now surfaced on Briscoe’s second album, Heat of July. Produced by Brad Cook and released by ATO Records, the collection is a generally optimistic highway companion set against the backdrop of sunsets somewhere south of Alpine, Texas, long drives to Denver, and Mexican eagles circling overhead.

During a brief break from the road, Briscoe spoke with Good Country about how banjo fits into their sound, discovering bluegrass through YouTube videos, and the John Prine classic that set it all in motion.

I found it interesting that you were writing this album as you were driving around the country. You’re going 80 miles an hour as these songs are coming to you. Can you set the scene of what that looked like?

Philip Lupton: Yeah, that’s a great question. A lot of this record was written on the road just because we were touring hard on our debut album, West of It All. You’re in the van for so many hours a day that you eventually get tired of listening to music, no matter how much you like music. You just need some silence. I think that’s when Truett and I can find a little bit of inspiration. Like, “OK, cut the music.”

“Arizona Shining,” the second song on the record, is very much written as I’m taking in the landscape through the window. You just start to mumble a few things under your breath. And then you hold up your phone and take a little voice memo. You get back home in a couple weeks, you come back to that idea, and then, finally, get to put it to a progression and bring it to life.

When you’re out on tour, coming out of your hotel, and you see that van hooked up to a trailer, does it ever strike you, like, “We’re really out here making this happen”?

PL: Yeah, absolutely it does! There’s this old Hayes Carll song called “I Got a Gig.” I listen to that song and I’m like, “OK, we’re doing it. We’re road dogging it.” We’re staying at the cheap hotels and playing gigs for cash at the door and whatever. We’ve seen a lot of growth and success in a lot of markets, but when you’re taking it all across the country, up into Canada, there’s a lot of those same stories you can experience any time on the road.

The opening song, “Saving Grace,” seems to set a tone for the album. There’s a very positive tone in that song. Is that a fair statement, do you think?

Truett Heintzelman: Super fair, yeah. A lot of this record is written over the last year and a half to two years and one of the big components of that time for both of us is that we both got married. So that’s what we were wanting to convey. We view marriage in a positive light and, God willing, we’ll always view it in a positive light. “Saving Grace” was written about marrying our respective wives.

For me, that song was about meeting my wife and realizing early on, “OK, this feels different and I don’t want this to go away.” We just tried to write as much as we could about our lives and experiences and our time between now and the last record. And, obviously, getting married is something that takes up a lot of your brain, you naturally end up thinking about it a lot.

You’ve got a cool banjo vibe on “Saving Grace” and a couple other songs on the album, too. Philip, what pulled you into the sound of the banjo?

PL: It goes back to learning guitar when I was middle school-age. I just had a desire to learn an instrument that was different and would allow me to jam with my buddies. So, I bought a banjo at a secondhand music store in San Angelo, where I’m from, for like 150 bucks, and I ended up really falling in love with the Avett Brothers. Back in the day, when Truett and I were both learning to play guitar and sing, I’d play the banjo and Truett would play the guitar and we’d cover the Avett Brothers. That was how we fell in love with playing together.

The banjo always had a strong presence. When we started writing, it was almost second nature to incorporate the banjo in some way. If Truett was handling most of the rhythm guitar, I picked up the banjo in lieu of a lead guitar. We just kind of rolled with that, way back when.

You mentioned middle school. Is that around the same time you guys met?

PL: Yeah, I was a year older than Truett in school and we met at summer camp. We just hit it off and we were both learning guitar and both interested in similar music. We saw each other every year after that at camp and became really close in high school. San Angelo is a smaller town and we’d have to go to a major city for any big need, like a big hospital system. So, my family would go to San Antonio quite a bit. I’d get dropped off at Truett’s house and we’d play guitar until my family was ready to go back to San Angelo.

Do you guys remember the first time you sang together?

TH: Oh yeah, that first summer we met at camp, we met on the first day of the session, which was two weeks long. We both brought acoustic guitars, so it was like, “All right. You play, I play.” “What do you like to play?” “Oh, I like that song too.”

We started going back and forth, kind of jamming all throughout that week. At the end of that week, we played “Paradise” by John Prine at our camp talent show, which was really just for us. We joke that I don’t think anyone else in that camp auditorium had any idea what we were saying, but they were just excited that we were singing and we were too.

How did John Prine hit your radar in middle school?

TH: There’s a guy named Joshua Lee Turner who’s in a band called the Other Favorites and he has this YouTube channel, it’s like a gold mine. He’s super talented, an awesome artist, and he and his buddies cover all these incredible songs. I owe watching Joshua Lee Turner on YouTube for a good chunk of the artists and the music that I love. I consume a ton of bluegrass music and a lot of that is because of him. The song “Old Home Place” is one that I fell in love with after watching him. When Philip and I put it together that we both loved him, that served as a blueprint, too, for us to start posting videos on YouTube.

How did you come up with the name Briscoe?

PL: Briscoe was my grandfather’s middle name. I never met that granddad, but I always loved that name. It’s a name that goes back in my family on that side a few generations. It was in consideration for my name before I was born, but my grandma on the other side of the family didn’t like it. I always liked the name and I started Briscoe in San Angelo before we got to UT, just as a name to put music under. I knew someday Truett and I would be able to do it together, so I just chose Briscoe and rolled with it and then we never had any reason to consider changing it. And that was that.

You guys have seen the whole country by now, touring coast to coast. What is it about living in Texas that makes you want to settle there?

TH: I’ll just get this out of the way now – when you’re born in Texas and raised in Texas, you’re just inherently proud of that. So, from the get-go, you probably have an inflated sense of pride to be from Texas. But we’re now at this place where we’ve gotten to see everything in North America, pretty much. There are so many beautiful parts of this country, and of Canada and Mexico. In all these cities, you’re like, “Wow, this is such a great city. It would be fun to live here.” But I have never found a place where I’ve been like, “I would rather live here than where I live in Texas.” This is where our roots are.

Philip, how about you?

PL: The older I get, the more I appreciate Texas’ contribution in the music world on all different levels, and especially this Texas country/outlaw kind of thing. To name a few guys in particular, Jerry Jeff Walker, Guy Clark, Lyle Lovett, and Robert Earl Keen. The more we appreciate them, the more that we want to resemble what they did. No matter what level of popularity or success they achieved as musicians, they never forgot where they were from. We respect those guys a lot for that, and how they blazed their own path.

We are very proud to be part of the greater Texas subgenre of Americana, folk, and country music, and we feel like that’s where we’re always going to want to be.

Photo Credit: Justin Cook

WATCH: Briscoe, “Sparrows”

Posted on by Justin Hiltner

Artist: Briscoe
Hometown: Austin, Texas
Song: “Sparrows”
Album: West of It All
Release Date: September 15, 2023
Label: ATO Records

In Their Words: “‘Sparrows’ is a heartbreak song inspired by time spent in Paris, France, and John Steinbeck’s East of Eden. The song aims to capture the effect evil has on a relationship, as shown through that of Adam and Cathy Trask in the novel. ‘Sparrows’ holds a special place in our hearts as one of the few sad songs on the record, and has already become one of our favorites to play live.” – Briscoe

Photo Credit: Philip Lupton